A rare atmospheric phenomenon allows a New York City firefighter to communicate with his son 30 years in the future via HAM radio. The son uses this opportunity to warn the father of his impending death in a warehouse fire, and manages to save his life. However, what he does not realize is that changing history has triggered a new set of tragic events, including the murder of his mother. The two men must now work together, 30 years apart, to find the murderer before he strikes so that they can change history--again. Written by
Brian Greene: The film's physics consultant appears early in the movie as himself, being interviewed by Dick Cavett. There are two scenes; one with old footage of Cavett interviewing Greene in 1969, then a scene with an interview in 1999 with contemporary footage of Cavett and an "aged" Greene. See more »
When John rides his bicycle in 1969, he wears a Mets batting helmet made in the 1980s. See more »
Not for nothing, the past is a funny thing, we all have skeletons in the closet. You just never know when they're gonna pop up and bite you in the ass.
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Son of a Preacher Man
Written by John Hurley and Ronnie Wilkins
Performed by Dusty Springfield
Courtesy of Atlantic Recording Corp./Universal International Music, B.V.
By Arrangement with Warner Special Products
And under license from Universal Music Enterprises See more »
How far we've come! In the old days a final plot twist was a surprise, with the best being a surprise insight. Remember `No Way Out?' More recently we've had end twist insights that reinterpret the movie. In that case, what you learn at the end has you going over the whole film as you leave, wondering about which of your prior understandings need to be modified: `Sixth Sense,' and `Usual Suspects' come to mind.
But in those cases, the film is a story apart from your perception of it. Here now we have a story where your reinvention of what you know changes the story from the perspective of both you the viewer and the hero in the film. And it doesn't just happen at the end, but all through the last half. A new high in self-reference and experimentation with the role of the viewer in the narrative.
Worth seeing for this step in the evolution of the art.
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